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V. 


STERS     IN     ART 


CI)e  iFreecos  of 


i^apfiael 


UMBRIAN,  ROMAN,   FLORENTINE  SCHOOLS 


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UASTESS  IN  AHT     PLATE  IX 

PHOTOQRAPH    BY   ALINARI 

[145] 


KAPHAEIj 

GAHLAND-BEAHEH 

ACADEMY  OF  ST.  LUKE,  SOME 


MASTEHS  IN  AHT  PLATE  X 

rHOTOQRAPH  BY  BRAUN,  CLEMENT  «  CIE. 

[147] 


EAPHAEIj 
THE  TEIUMPH  OF  GAXATEA 
FAHNESIXA  VIZiIiA,  HOME 


PORTHAIT  OF  RAPHAEI.  BT  HIMBEU 
STAXZA  IJELLA  SEGXATUHA,  VATICAN,  HOME 

Raphael  painted  his  own  portrait,  as  one  of  the  spectators,  in  *  The  School  of  Athens,' 
( see  Plate  V. )  standing  in  the  corner  to  the  right  beside  the  figure  of  the  painter 
Sodoma,  whom  he  has  here  represented  out  of  courtesy  as  an  associate  in  the  deco- 
ration of  the  Stanza  della  Segnatura.  Painted  when  he  was  twenty-seven  years  old, 
this  portrait  and  one  in  the  Uffizi  Gallery,  Florence,  to  which  it  bears  a  strong  re- 
semblance, are  the  only  undoubtedly  authentic  likenesses  of  Raphael.  In  both  he 
wears  a  black  cap,  his  features  are  delicate,  his  complexion  is  olive,  and  his  chestnut 
hair  is  worn  long. 

[148] 


MASTERS    IN    ART 


Mnp'bMl  l&an^to 


BORN   1483  :    DIED  1520 
UMBRIAN,  ROMAN,   FLORENTINE    SCHOOLS 

THE  present  monograph  treats  only  of  Raphael's  frescos.  His  easel- 
pictures  were  considered  in  Masters  in  Art,  Volume  1,  Part  12,  in 
which  another  account  of  his  life  and  further  criticisms  of  his  art  will  be 
found. 

RAPHAEL  SANZIO,  or  Santi,  was  born  on  Good  Friday  of  the  year 
k.  1483,  in  the  ducal  city  of  Urbino,  situated  among  the  Apennine  moun- 
tains close  to  the  frontiers  of  Tuscany  and  Umbria.  His  father,  Giovanni 
Santi,  a  painter  of  considerable  reputation  and  also  a  man  of  some  literary 
attainments,  was  ever  a  welcome  guest  at  the  palace  of  the  Duke  of  Urbino, 
whose  miniature  court  was  at  that  time  one  of  the  chief  artistic  and  intellec- 
tual centers  of  Italy;  and  the  rich  treasures  contained  in  the  ducal  residence, 
with  which  Raphael  was  familiar  from  his  earliest  youth,  may  well  have  stim- 
ulated the  boy's  love  for  art. 

Few  facts  are  recorded  of  Raphael's  childhood.  When  he  was  eight  years 
old  his  mother  died;  and  on  the  death  of  his  father  three  years  later  he  was 
left  to  the  guardianship  of  a  stepmotiier  and  an  uncle,  Bartolommeo  Santi. 
From  his  father  he  had  already  learned  the  elements  of  drawing  and  paint- 
ing, and  it  is  probable  that  later  he  was  placed  in  the  studio  of  the  Umbrian 
painter  Timoteo  Viti,  then  hving  in  Urbino,  and  that  when  sixteen  or  seven- 
^  teen  years  of  age  he  was  sent  to  Perugia  to  study  under  Pietro  Perugino,  the 
acknowledged  head  of  the  Umbrian  school.  Perugino  seems  to  have  devoted 
special  pains  to  the  artistic  education  of  his  talented  scholar;  and  it  was  not 
long  before  Raphael,  having  been  allowed  to  assist  his  master  in  his  work, 
was  engaged  in  painting  pictures  on  his  own  account  for  various  neighboring 
churches.  In  all  his  work  done  during  this  apprenticeship,  however,  Perugi- 
no's  influence  is  so  strongly  apparent,  and  his  style  so  closely  imitated,  that  it 
is  at  first  sight  difficult  to  distinguish  the  paintings  of  the  pupil  from  those  of 
the  master.  There  is  no  direct  proof  for  Vasari's  statement  that  Raphael 
visited  Siena  at  about  this  time,  and  assisted  Pinturicchio  in  his  fresco  decora- 
tions of  the  cathedral  library  of  that  city,  though  such  may  have  been  the 
fact;  but  we  hear  of  him  in  Urbino  in  1504,  and  know  that  towards  the  close 

[149] 


24  MASTERSINART 

of  that  year  he  went  to  Florence,  reports  having  reached  him  of  the  enthusi- 
asm caused  by  the  exhibition  there  of  Leonardo  da  Vinci's  and  Michelangelo's 
great  cartoons  for  the  decoration  of  the  hall  of  the  Palazzo  Vecchio. 

The  Duchess  Giovanna,  sister  of  the  Duke  of  Urbino,  who  had  heard  of 
Raphael's  wish  to  visit  Florence,  gave  him  a  letter  warmly  recommending 
him  to  the  Gonfaloniere  of  the  city,  Piero  Soderini.  "The  bearer  of  this," 
she  wrote,  "will  be  Raphael,  painter  of  Urbino,  who,  being  endowed  with 
natural  talent  for  his  profession,  has  decided  to  spend  some  time  in  Florence 
in  order  to  study  art.  And  since  his  father  was  a  very  excellent  man  and  dear 
to  me,  and  the  son  is  a  discreet  and  gentle  youth,  I  am  very  fond  of  him,  and 
wish  him  to  attain  to  perfection." 

Notwithstanding  his  youth — he  was  at  that  time  only  twenty-one  — 
Raphael  was  welcomed  as  an  equal  by  the  artists  of  Florence,  among  whom 
he  made  many  friends;  and  the  beauty  of  his  person  and  charm  of  his  man- 
ner insured  him  an  immediate  popularity.  We  hear  of  him  as  a  frequent 
visitor  at  the  workshop  of  Baccio  d'Agnolo,  the  architect,  where  all  the  well- 
known  painters  and  sculptors  of  the  city  were  wont  to  gather  to  discuss  the 
various  problems  of  their  art;  and  we  know  that  he  spent  many  hours  in  the 
Brancacci  Chapel  of  the  Church  of  the  Carmine  studying  the  works  of  Masac- 
cio,  which  awakened  that  sense  of  the  dramatic  afterwards  perceptible  in  his 
own  great  frescos.  With  the  genius  for  assimilation  —  for  seizing  upon  the 
best  there  was  in  the  achievement  of  others  and  making  it  his  own — that 
characterized  him  from  the  beginning,  Raphael  was  quick  to  develop  his 
rapidly  maturing  powers  under  the  various  influences  to  which  he  was  now 
subjected.  Above  all  did  the  subtlety  of  modeling  and  beauty  of  expression 
in  Leonardo  da  Vinci's  work  attract  him.  "He  stood  dumb,"  says  Vasari, 
"before  the  grace  of  Leonardo's  figures,  and  thought  him  superior  to  all  other 
masters;  and,  leaving  the  manner  of  Perugino,  he  endeavored  with  infinite 
pains  to  imitate  the  art  of  Da  Vinci.  At  the  same  time  Michelangelo's  mas- 
tery of  the  human  frame  made  a  profound  impression  upon  his  mind,  and  he 
applied  himself  with  ardor  to  learn  the  principles  of  anatomy.  Night  and  day 
he  devoted  himself  to  the  task,  and  studied  the  structure  of  the  body  with 
such  unwearied  industry  that  in  a  few  months  he  learned  what  others  take 
years  to  acquire." 

At  the  end  of  a  few  months  Raphael's  stay  in  Florence  was  interrupted  ° 
by  a  visit  to  Perugia,  where,  in  1505,  we  find  him  executing  several  impor- 
tant commissions  and  engaged  upon  his  first  fresco — a  representation  of  the 
Trinity  painted  for  the  monks  of  the  Monastery  of  San  Severo.  This  work, 
now  httle  more  than  a  wreck,  was  left  unfinished  by  Raphael,  and  was  com- 
pleted after  his  death  by  his  old  master,  Perugino. 

In  the  spring  of  1506  he  seems  to  have  spent  some  months  in  his  native 
town,  where  he  painted  several  pictures  for  the  Duke  of  Urbino;  but  in  Sep- 
tember of  that  year  he  returned  to  Florence,  where  many  of  his  finest  easel- 
pictures,  principally  those  of  which  the  Madonna  and  Child  form  the  sub- 
ject, were  then  painted.  It  was  while  occupied  with  numerous  important 
works  in  Florence  that  Raphael,  in  the  autumn  of  1508,  upon  the  recom- 

[150] 


RAPHAEL  25 

mendation,  so  Vasari  says,  of  his  fellow-citizen  the  architect  Bramante,  re- 
ceived from  Pope  Julius  ii.  a  summons  to  Rome,  where  already  many  of  the 
most  famous  artists  of  Tuscany,  Umbria,  and  Northern  Italy  were  engaged 
in  the  service  of  that  pontiff.  Michelangelo  was  about  to  begin  his  task  of 
decorating  the  ceiling  of  the  Sistine  Chapel,  the  walls  of  which  had  already 
been  painted  by  Signorelli,  Perugino,  Botticelli,  Pinturicchio,  and  others. 
Bramante  was  occupied  with  the  erection  of  St.  Peter's;  and  now  the  young 
Raphael,  at  that  time  twenty-five  years  of  age,  was  called  upon  to  con- 
tribute his  share  in  the  decoration  of  the  Palace  of  the  Vatican.  Leaving  his 
work  at  Florence  to  be  finished  by  other  hands,  Raphael  hastened  to  obey 
the  pope's  summons;  and  upon  his  arrival  in  Rome  was  received  with  great 
kindness  by  Julius,  and  at  once  began  the  work  assigned  to  him. 

This  was  the  decoration  in  fresco  of  the  Stanza  della  Segnatura,  the  room 
where  official  documents  received  the  papal  seal.  Upon  the  vault,  already 
adorned  by  Sodoma  with  an  elaborate  decorative  scheme,  the  greater  part  of 
which  was  cleared  away  before  Raphael  began  his  work,  he  painted  in  the  rect- 
angles 'Adam  and  Eve,'  'Astronomy,'  'Judgment  of  Solomon,'  and  'Apollo 
and  Marsyas,'  and  above,  four  allegorical  figures,  'Theology,'  'Poetry,'  'Phi- 
losophy,' and  'Justice.'  Upon  the  right  wall  he  painted  the  first  of  his  mon- 
umental frescos,  the  celebrated  'Disputa;'  opposite  this,  'The  School  of 
Athens;'  and  on  the  two  remaining  walls,  broken  by  large  windows,  are  rep- 
resented respectively  'Parnassus'  and  'Jurisprudence,'  with  figures  of  Justin- 
ian and  Pope  Gregory  ix.  on  either  side  of  the  window  underneath  the  last. 
Taken  as  a  whole,  the  frescos  of  this  stanza  of  the  Vatican  are  generally 
regarded  as  the  greatest  of  Raphael's  achievements.  "Never  again,"  writes 
Mr.  Henry  Strachey,  "did  he  attain  to  so  faultless  a  unity  of  theme.  Many 
were  the  causes  which  prevented  him  from  rising  again  to  such  perfection. 
The  great  obstacle  was  success.  When  Julius  handed  over  the  first  room  to 
Raphael  he  was  an  unknown  young  man  of  promise;  when  he  finished  it, 
some  two  and  a  half  years  later,  he  was  acknowledged  to  have  but  one  rival 
in  Italy  —  Michelangelo.  While  the  painter  was  unknown  the  pope  did  not 
trouble  about  the  subjects  of  the  pictures  nor  how  quickly  they  were  done; 
but  when  Julius  found  what  manner  of  man  he  had  to  paint  his  wallsfor  him 
he  was  impatient  to  have  more,  and  that  quickly.  Unfortunately,  instead  of 
allowing  Raphael  to  weave  an  ideal  framework  for  the  decoration  of  the  next 
room  to  be  painted,  he  was  forced,  for  political  reasons,  into  painting  the 
triumphs  of  the  Church.  When  we  pass  from  the  Stanza  della  Segnatura  to 
the  Stanza  d'  Eliodoro  we  pass  from  the  highest  form  of  ideal  art  to  an  art  in- 
spired by  illustration — that  is,  painting  of  which  the  motive  is  not  an  ab- 
stract one,  like  poetry  or  philosophy,  but  which,  instead,  occupies  itself  with 
making  clear  a  story  or  incident." 

Raphael's  reputation  in  Rome  was  now  completely  established.  Loaded 
with  honors  by  the  pope,  whose  satisfaction  with  the  w.ork  of  his  now  favor- 
ite painter  was  unbounded,  he  was  ordered  to  paint  the  walls  of  the  adjoin- 
ing apartment,  now  called  the  Stanza  d'  Eliodoro,  without  delay.  The  sub- 
ject given  him  was  the  divine  protection  of  the  Church,  and  in  the  fresco  or 

[151] 


26  MASTERSINART 

*The  Expulsion  of  Heliodorus  from  the  Temple  of  Jerusalem,'  which  he 
now  painted,  allusion  is  made  to  the  liberation  of  Italy  from  the  invading 
army  of  France;  and  'The  Miracle  of  Bolsena,'  which  followed,  is  significant 
of  the  supreme  power  of  the  Church. 

Raphael's  work  in  the  Vatican  was  interrupted  at  this  point  by  the  death 
of  Pope  Julius;  but  Giovanni  de'  Medici,  who  under  the  name  of  Leo  x. 
succeeded  to  the  papal  chair,  proved  no  less  stanch  a  patron,  and  from  the 
first  distinguished  him  with  marks  of  special  favor.  He  bade  him  proceed 
with  the  decorations  of  the  Vatican  apartments;  and  Raphael  accordingly 
painted  *The  Retreat  of  Attila,'  introducing  the  figure  of  the  new  pontiff  as 
St.  Leo  arresting  the  barbarians  in  their  invasion,  and  on  the  remaining  wall 
of  the  Stanza  d'  Eliodoro  depicted  *The  Deliverance  of  St.  Peter,'  in  allusion 
to  the  escape  of  Leo  x.  from  captivity  after  the  battle  of  Ravenna. 

With  the  exception  of  'The  Miracle  of  Bolsena,'  Raphael  employed  in 
the  execution  of  these  frescos  a  band  of  assistants,  who  worked,  it  is  true, 
from  his  designs  and  under  his  direction,  thus  making  possible  the  vast  amount 
of  work  which  was  accomplished  during  his  short  life,  but  whose  touch  too 
often  marred  the  creations  of  their  master.  In  the  Stanza  dell'  Incendio, 
decorated  between  1514  and  1517,  only  one  fresco,  'Incendio  del'  Borgo,' 
was  to  any  extent  painted  by  Raphael.  His  drawings  exist  for  the  single  figures 
contained  in  the  other  frescos  of  this  room —  'The  Coronation  of  Charle- 
magne,' '  The  Oath  of  Leo  in.,'  and  *  The  Battle  of  Ostia ' — but  most  of  the 
painting  was  done  by  pupils;  and  the  Sala  di  Costantino,  the  last  of  the  so- 
called  stanze,  was  painted  after  Raphael's  death. 

While  these  great  works  in  the  Vatican  were  in  progress  Raphael  was  en- 
gaged upon  numerous  other  important  undertakings.  He  decorated  the  sump- 
tuous bathroom  of  Cardinal  Bibbiena  in  the  Vatican  with  a  series  of  myth- 
ological subjects,  and  painted  several  Madonna  pictures,  including  the  famous 
*  Madonna  di  Foligno,'  and  many  portraits  of  the  chief  personages  at  the  court 
of  Leo  X.  It  had  become,  indeed,  impossible  for  him  to  fill  the  orders  that 
poured  in  from  all  sides;  and  "kings  and  cardinals  counted  themselves  fortu- 
nate if  they  could  obtain  a  picture  even  designed  by  this  illustrious  master." 

In  the  year  1514,  after  the  death  of  Bramante,  the  pope  appointed  Raphael 
chief  architect  of  St.  Peter's,  at  an  annual  salary  of  three  hundred  ducats,  and 
in  the  following  year  named  him  inspector  of  antiquities,  with  power  to  pur- 
chase any  ancient  marbles  discovered  in  Rome  or  the  vicinity  that  it  might 
seem  to  him  advisable  that  the  city  should  possess.  It  was  at  about  this  time, 
too,  in  accordance  with  the  wish  of  the  pope,  that  Raphael  executed  his  ten 
celebrated  "cartoons"  illustrating  the  acts  of  the  Apostles  Peter  and  Paul  — 
designs  for  tapestries  intended  to  cover  the  lower  half  of  the  walls  of  the  Sis- 
tine  Chapel  in  the  Vatican.  When  completed  these  cartoons  were  sent  to 
Flanders,  where  the  tapestries  (still  preserved  in  a  room  in  the  Vatican)  were 
woven.  Three  of  the.original  cartoons  are  lost;  the  remaining  seven  are  now 
in  the  South  Kensington  Museum,  London. 

In  addition  to  his  work  in  the  papal  service,  Raphael  was  also  engaged  in 
executing  commissions  for  the  wealthv  banker  Agostino  Chigi,  not  only  at 

[152] 


RAPHAEL  27 

Chigi's  villa  near  Rome, —  now  the  Villa  Farnesina, —  where  the  fresco  of 
*The  Triumph  of  Galatea'  still  adorns  the  wall,  but  in  the  chapel  of  the 
Chigi  family  in  the  Church  of  Santa  Maria  della  Pace,  where  he  painted  his 
famous  Sibyls,  and  that  of  Santa  Maria  del  Popolo,  where  he  designed  the 
mosaics  for  the  cupola  of  a  chapel. 

The  last  important  decorative  works  of  the  painter's  life  were  the  frescos 
painted  in  the  Villa  Farnesina,  representing  the  story  of  Cupid  and  Psyche, 
and  a  series  of  fifty-two  small  frescos,  enframed  in  arabesques,  of  scenes 
from  the  Old  and  New  Testaments,  known  as  '  Raphael's  Bible,'  which 
adorn  the  loggie  of  the  Vatican.  Both  these  works,  however,  were  executed 
almost  wholly  by  pupils.  Indeed,  the  frescos  of  the  Vatican  loggie,  now 
ruined  by  restoration,  show  no  trace  of  the  master's  hand. 

The  host  of  pupils  who  worked  under  Raphael's  direction  formed  a  sort 
of  royal  retinue  about  him ;  and,  as  Vasari  tells  us,  "  he  was  never  seen  to  go  to 
court  but  surrounded  and  accompanied,  as  he  left  his  house,  by  some  fifty 
painters,  all  men  of  ability  and  distinction,  who  thus  attended  him  to  give 
evidence  of  the  honor  in  which  they  held  him.  He  did  not  indeed  lead  the 
life  of  a  painter,  but  that  of  a  prince."  And  in  this  little  court  the  most  per- 
fect harmony  reigned,  due  to  the  personality  of  the  painter,  the  charm  and 
sweetness  of  whose  nature  no  man  could  withstand.  "All  became  as  of  one 
mind,"  says  Vasari,  "once  they  began  to  labor  in  the  society  of  Raphael, 
continuing  in  such  unity  and  concord  that  all  harsh  feeling  and  evil  disposi- 
tions became  subdued  and  disappeared  at  the  sight  of  him;  every  vile  and 
base  thought  departing  from  the  mind  before  his  influence."  His  favorite 
pupils,  Giulio  Romano  and  Gianfrancesco  Penni,  were  members  of  his  house- 
hold; and  among  his  friends  and  most  frequent  guests  were  cardinals,  dis- 
tinguished scholars,  and  all  the  celebrated  men  who  formed  the  courts  of 
Julius  II.  and  Leo  x. 

The  story  that  Raphael  fell  in  love  with  the  daughter  of  a  baker," la  For- 
narina,"  is  now  believed  to  be  without  foundation.  Vasari  tells  us  that  there 
was  one  woman  whom  the  painter  cared  for  all  his  life,  and  in  two  sonnets 
written  by  Raphael  he  addresses  his  lady-love  as  one  far  above  him,  vowing 
that  he  will  never  reveal  her  name.  A  marriage  with  Maria,  niece  of  his 
close  friend  Cardinal  Bibbiena,  seems  to  have  been  arranged  for,  but  the 
lady's  early  death  prevented  the  marriage,  for  which  Raphael  apparently 
showed  no  great  desire. 

It  was  towards  the  end  of  his  life,  probably  in  1 5 1 8  or  1519,  that  Raphael 
painted,  entirely  with  his  own  hand,  that  most  famous  of  all  his  easel-pictures, 
'The  Sistine  Madonna,'  executed  for  the  monks  of  the  Monastery  of  San 
Sisto  of  Piacenza,  and  now  in  the  Dresden  Gallery.  In  the  following  year, 
while  engaged  upon  his  celebrated  painting  of  'The  Transfiguration,'  and 
before  he  had  quite  completed  it,  he  was  taken  sick  with  a  fever,  contracted, 
some  say,  while  superintending  excavations  in  the  malarial  quarters  of  Rome, 
and,  according  to  others,  the  result  of  a  sudden  chill  occasioned  by  waiting 
in  one  of  the  vast  halls  of  the  Vatican  in  attendance  upon  the  pope.  Worn 
out  by  overwork,  Raphael  sank  rapidly,  and,  after  an  illness  of  only  a  few 

[153] 


28  MASTERSINART 

days,  died  on  the  evening  of  Good  Friday,  his  thirty-seventh  birthday,  April 
6,  1520. 

Great  were  the  grief  and  consternation  caused  by  the  news  of  his  death. 
The  whole  city  mourned,  and  the  pope  himself  was  overcome  by  sorrow  at 
the  loss  of  his  favorite  painter.  Raphael's  body  was  placed  beneath  his  un- 
finished picture  of 'The  Transfiguration,'  in  the  studio  wherein  he  had  last 
worked.  Thither  all  Rome  came  to  look  upon  the  face  of  the  "divine  painter," 
who  had  been  so  much  beloved;  and  all  the  artists  of  the  city,  followed  by 
a  vast  concourse  of  people,  bore  his  body  to  the  grave,  which  he  had  himself 
selected,  beneath  the  great  dome  of  the  Pantheon. 


Cije  art  of  3aapi)ael 

GEORGE    B.    ROSE  'RENAISSANCE    MASTERS' 

IT  is  to  Raphael  more  than  to  any  one  else  that  the  modern  world  owes 
its  conception  of  beauty  —  that  beauty  in  which  the  physical  and  spiritual 
shall  mingle  in  ever-varying  proportions,  but  in  which  neither  shall  ever  be 
entirely  lacking;  the  beauty  of  the  'Sistine  Madonna,'  whose  great  eyes  are 
full  of  the  light  of  heaven  as  she  is  revealed  upon  her  cloudy  throne;  the 
beauty  of  the  'Madonna  of  the  Chair,'  the  ideal  of  happy  motherhood;  the 
beauty  of  the  young  athlete  worthy  to  have  entered  the  Olympic  games,  who 
hangs  from  the  wall  in  the  'Incendio  del'  Borgo';  the  beauty  of  Apollo  and 
the  Muses  thrilled  with  the  rapture  of  divine  harmony  upon  the  wooded  sum- 
mit of  Parnassus, — beauty  in  countless  forms,  never  sensual  nor  gross,  al- 
ways truly  physical  and  truly  spiritual,  always  attractive,  and  always  enno- 
bling.  .   .   . 

Outside  of  the  physical  beauty  and  the  spiritual  elevation  of  his  types, 
Raphael's  highest  qualities  as  an  artist — those  in  which  he  remains  unap- 
proached  and  unapproachable — are  in  illustration  and  composition.  Nor 
should  it  be  inferred  that  his  works  lack  decorative  qualities.  As  a  colorist 
he  is  inferior  to  the  great  Venetians,  but  his  color  is  always  agreeable  and 
appropriate,  and  the  harmony  of  his  lines  is  decorative  in  the  highest  degree. 
In  the  art  of  composition  Raphael's  preeminence  has  never  been  contested. 
In  the  grouping  of  the  figures  so  as  to  form  an  agreeable  and  impressive 
whole  he  has  no  rival.  It  is  not  merely  the  balancing  of  group  against  group 
on  a  flat  surface,  which  had  been  done  so  often  and  so  admirably  before  him ; 
it  is  the  composition  in  space,  the  composition  in  three  dimensions,  in  which 
he  excels.  We  have  all  climbed  to  some  eminence  from  which  we  have  over- 
looked a  wide  expanse  of  country,  and  remember  the  thrill  which  we  have 
experienced,  the  exaltation,  the  sense  of  enlarged  vitality,  the  charm  of  the 
infinite  that  has  stirred  our  souls.  Something  of  this  there  is  in  Raphael's 
pictures.  And  his  skill  in  grouping  his  figures  is  such  that  they  remind  us  of 
the  rhythmic  harmony  of  music ;  not,  like  architecture,  of  music  that  is  frozen, 

[154] 


RAPHAEL  29 

but  of  music  that  is  throbbing  and  palpitating  with  life.  Nor  is  it  necessary 
to  go  out  of  doors  to  experience  the  feeling  of  space.  The  same  exhilarating 
sense  comes  upon  us  as  we  stand  beneath  the  arches  of  a  vast  cathedral,  and 
none  of  Raphael's  pictures  gives  it  more  strongly  than  '  The  School  of  Athens.' 
To  produce  it  is  perhaps  the  highest  achievement  of  architecture;  to  give  the 
illusion  of  it  is  one  of  the  greatest  feats  of  painting.  And  it  is  this  faculty, 
which  Raphael  possessed  in  so  supreme  a  degree,  of  giving  at  the  same  time 
a  realizing  sense  of  nature's  boundless  extent  and  of  man's  inherent  superi- 
ority, that  imparts  to  his  works  a  large  portion  of  their  unrivaled  charm.  .  .  . 

When  he  arrived  at  the  zenith  of  his  fame  Raphael  was  so  overwhelmed 
with  commissions  that  he  had  recourse  to  the  assistance  of  his  pupils,  often 
furnishing  only  a  sketch,  and  leaving  to  them  the  entire  work  of  painting. 
His  inexhaustible  fertility  enabled  him  to  dash  off  these  designs  with  extreme 
rapidity,  and  in  the  meantime  he  was  himself  working  industriously  with  his 
brush.  .  .  .  To  realize  the  difference  between  Raphael  and  his  pupils  we 
need  only  to  go  to  the  Villa  Farnesina  at  Rome  and  look  at  his  'Galatea,' 
that  most  beautiful  of  pictures  inspired  by  the  art  of  antiquity,  so  full  of  the 
sea's  splendor  and  of  the  exultant  spirit  of  pagan  joy,  and  then  pass  into  the 
adjoining  inclosed  loggia  decorated  by  his  pupils  with  the  story  of  Cupid  and 
Psyche  after  his  designs.  Nothing  could  be  more  deliciously  perfect  than  his 
own  painting,  while  the  work  of  his  disciples  offends  the  eye  by  its  coarse- 
ness and  haste.  Still,  through  the  imperfection  of  the  workmanship  there 
shines  forth  the  divine  beauty  of  Raphael's  conception ;  and  owing  to  the 
brevity  of  his  life,  his  works,  without  the  assistance  of  his  pupils,  must  have 
been  comparatively  few,  and  we  should  have  been  deprived  of  many  a  mar- 
vel of  composition,  whose  merits  may  be  impaired,  but  not  destroyed,  by  the 
inferiority  of  the  workmanship. 

Apart  from  the  assistance  received  from  his  disciples,  Raphael  was  the  most 
productive  artist  that  ever  lived.  His  early  death  limited  his  artistic  activity 
to  a  period  of  twenty  years,  and  yet  he  has  filled  the  galleries  of  the  world 
with  the  most  varied  masterpieces;  and  although  his  life  was  so  short  and  so 
busy  that  he  could  not  have  become  a  very  profound  scholar,  yet  the  whole 
spirit  of  Greek  poetry  is  in  his  'Galatea,'  the  whole  spirit  of  Greek  philos- 
ophy is  in  his  'School  of  Athens';  and,  while  he  became  so  thoroughly  a  Greek 
that  his  work  would  have  been  hailed  by  Pericles  with  delight,  he  still  re- 
mained the  highest  and  purest  type  of  the  Cnristian  artist. 

PRIOR  to  Raphael  artists  were  too  self-conscious  because  of  their  strug- 
gling ignorance;  their  crudities  made  art  too  apparent.  After  Raphael 
artists  became  self-conscious  because  of  their  knowledge;  their  power  made 
them  proud  of  display.  Hence  the  works  of  both  schools,  of  the  Preraphaelites 
and  the  Postraphaelites,  arrest  by  their  singularities,  though  of  course  they 
may  also  charm  by  their  beauty.  Raphael  touched  the  happy  medium  between 
these  two  extremes.  He  was  not  too  ideal  to  be  mystic,  not  too  realistic  to 
be  commonplace.   He  made  the  familiar  beautiful,  and  the  beautiful  familiar. 

WILLIAM  TIREBUCK 

[155] 


30  MASTERS    IN    ART 

HENRY    STRACHEY  'RAPHAEL* 

AMONG  Italian  painters  none  were  so  preoccupied  by  questions  of  form 
L  as  were  the  Florentines.  Indeed,  the  expression  of  form,  either  by  out- 
line or  modeling,  may  be  said  to  be  the  distinguishing  characteristic  of  their 
school.  To  this  passion  for  the  realization  of  the  shapes  of  things  other  con- 
siderations were  sacrificed.  In  Venice,  on  the  other  hand,  it  was  the  prob- 
lems of  colored  light  and  the  study  of  atmosphere  which  interested  the  artists. 

The  school  to  which  Raphael  may  be  considered  to  have  chiefly  belonged, 
the  Umbrian,  was  much  more  in  sympathy  with  the  Venetians  than  with  the 
Florentines.  To  him  a  figure  primarily  belonged  to  its  surroundings.  It  might 
be  the  principal  part,  but  it  always  remained  a  part  of  the  whole.  The  group 
was  always  more  important  to  him  than  the  individual.  Thus  in  his  works 
we  never  get  that  "extreme  characteristic  expression"  of  individual  life  that 
we  do  in  P'lorentine  work. 

In  Michelangelo's  bodies  we  feel  their  life  in  every  form,  straining  in  the 
tense  muscles  and  resting  in  those  that  are  relaxed.  In  every  part  of  his  fig- 
ures we  are  made  to  feel  the  living,  moving  organism.  With  Raphael  the 
impression  produced  is  quite  different.  In  studying  his  sense  of  form  one 
cannot  but  be  struck  by  his  keen  feeling  for  the  proportion  and  harmony  of 
the  human  body,  by  his  wonderful  feeling  for  the  beauties  resulting  from  well- 
ordered  movement.  At  the  same  time  it  is  curious  to  note  how  indifferent 
he  seems  to  have  been  to  those  minute  subtleties  of  form  which  were  sought 
after  with  such  success  by  the  great  Florentines.  When,  for  instance,  he  had 
represented  enough  of  the  structure  of  the  body  to  make  his  'Apollo'  a  living 
thing  he  stopped.  His  preoccupation  was  that  his  figure  should  fill  a  noble 
and  rhythmic  space  in  the  design  of  the  whole  work.  To  have  insisted  on 
the  inner  life  of  the  body  would  have  distracted  our  attention  from  the  serenity 
with  which  the  god  harmoniously  dominates  his  surroundings.  .  .  . 

But  if  excelled  by  the  Florentines  in  appreciation  of  the  inner  mysteries 
of  form,  and  surpassed  by  the  Venetians  in  the  crowning  glories  of  color, 
there  remains  one  domain  of  art  in  which  Raphael  reigns  supreme.  In  com- 
position no  one  before  or  after  has  ever  approached  to  within  a  distance  which 
makes  comparison  possible.  I  do  not  mean  to  suggest  that  there  are  not 
plenty  of  instances,  ancient  and  modern,  of  supremely  good  composition. 
But  no  other  painter  ever  so  habitually  showed  such  complete  mastery  over 
the  art.  It  matters  not  to  Raphael  whether  he  is  using  one  figure  or  twenty, 
whether  his  space  is  rectangular,  circular,  or  both,  and  lopsided  also.  In  every 
instance  the  given  space  is  filled  with  a  pattern  of  figures  exactly  suitable  to 
the  decorative  requirements  and  to  the  true  expression  of  the  sentiment  of 
the  work.  It  made  no  difference  to  him,  when  planning  *The  Miracle  of 
Bolsena,'  that  the  window  in  the  wall  to  be  painted  was  not  in  the  center, 
leaving  but  a  narrow  strip  on  one  side.  The  irregularity  of  the  space  was 
so  turned  to  account  that  we  feel  that  for  the  proper  expression  of  the  con- 
ception a  wall  of  this  shape  had  to  be  found.  Hitherto  I  have  spoken  only 
of  the  pattern  of  the  picture  in  two  dimensions,  height  and  breadth.  With 
the  use  of  these  two  many  artists  have  stopped.    But  Raphael  proceeded  far- 

[156] 


RAPHAEL  31 

ther,  and  used  also  depth  in  relation  to  composition.  Mr.  Berenson  has  aptly 
called  this  of  which  I  speak  "space  composition,"  and  has  pointed  out  that 
this  space  composition  was  the  peculiar  heritage  of  the  Umbrians,  and  that 
Perugino  was  a  master  of  the  art  in  his  own  way,  but  that  it  was  left  for 
Raphael  to  develop  it  to  the  full. 

Vasari  says  that  Raphael  owed  the  architecture  of  the  vast  and  airy  hall  in 
which  the  congress  of  philosophers  of  his  'School  of  Athens'  takes  place  to 
Bramante;  but  if  Bramante  suggested  the  proportions  and  lines  of  the  building 
we  may  be  quite  sure  that  no  one  but  Raphael  disposed  the  light  and  shade, 
for  it  is  by  this  disposition  that  the  spaces  are  controlled  and  harmonized. 
Although  no  horizon  is  visible,  the  blue  sky  with  white  floating  clouds  car- 
ries the  eye  away  to  infinite  distance.  But  this  distance  is  so  finely  expressed 
—  that  is,  in  its  spiritual  rather  than  its  physical  effect — that  there  is  no  vio- 
lation of  the  law  of  decoration  which  forbids  too  great  realism  in  expressing 
distance  for  fear  of  suggesting  holes  in  the  wall.  How  great  must  have  been 
the  difiiculty  of  producing  the  exact  tones  required  for  this  delicate  business 
of  making  one  object  stand  just  the  right  distance  behind  another!  In  an  oil- 
painting  slight  modifications  are  easy,  but  with  a  fresco  of  this  size  the  diffi- 
culties must  have  been  great.  Only  by  the  possession  of  some  high  quality 
of  calculating  the  effect  of  each  piece  as  the  work  proceeded  can  we  account 
for  such  an  achievement.   .   .   . 

In  his  short  life  Raphael  may  be  said  to  have  swept  away  the  middle  ages 
as  far  as  art  was  concerned.  The  beginning  of  the  great  change  was  brought 
about  by  Leonardo  da  Vinci,  who  finished  the  'Last  Supper'  in  1497 — the 
first  picture  of  the  Renaissance  which  had  obtained  complete  freedom.  In 
1499  Michelangelo  carved  the  'Pieta,'  in  St.  Peter's,  in  which  this  same  per- 
fect freedom  from  archaic  forms  is  manifested.  At  this  last  date  Raphael  was 
working  in  his  master's  shop  in  Perugia,  and  it  cannot  be  said  that  he  achieved 
the  freedom  already  reached  by  the  two  elder  artists  till  he  went  to  Rome 
and  began  painting  the  Stanza  della  Segnatura,  in  1508.  But  if  Raphael  was 
not  a  pioneer  in  freeing  art  from  medieval  trammels,  he  was  the  painter  who 
spread  the  light  over  the  whole  field  of  painting.  Leonardo's  strange  and 
mysterious  temperament  limited  the  scope  of  his  performance  to  a  weird  and 
beautiful  land  of  dawn.  Michelangelo's  intense  individuality  and  completely 
personal  way  of  looking  at  things  also  restricted  his  range. 

In  their  own  special  provinces  both  Leonardo  and  Michelangelo  pene- 
trated farther  into  the  heart  of  things  than  did  Raphael.  But  the  special  sig- 
nificance and  wonder  of  the  work  of  Raphael  is  the  width  of  the  field  he 
illuminated.  Leonardo  dwelt  in  dim  regions,  penetrable  only  to  the  most 
poetical  of  imaginations;  Michelangelo  soared  into  the  farthest  regions  of  the 
spirit,  leaving  behind  all  accidents  of  place  and  time;  Raphael,  on  the  con- 
trary, walked  in  the  world,  and,  like  the  sun,  shone  everywhere,  all  humanity 
feeling  his  influence.  If  his  spirit  was  not  so  penetrating  as  that  of  the  other 
two,  his  sympathies  were  wider.  To  him  the  earth  was  a  place  filled  with 
beautiful  things,  which  had  only  to  be  brought  together  and  touched  by  the 
talisman  of  his  art  to  fall  into  harmony  with  each  other  and  with  the  rest  of 
humanity.  [1571 


32  MASTERS    IN    ART 

MIDWAY  between  Correggio  and  the  strong  individuality  of  Michel- 
angelo stands  Raphael,  the  most  serene,  restrained,  and  perfect  of  paint- 
ers, who  alone,  by  virtue  of  these  qualities,  is  worthy  to  rank  with  the  Greeks. 

GIOVANNI  MORELLI 

E.    H.    AND   E.    W.    BLASHFIELD  'ITALIAN    CITIES' 

IN  the  years  which  began  the  sixteenth  century  the  art  of  Italy  attained  its 
meridian  in  its  capital  city  and  in  the  house  of  its  supreme  rulers,  through 
the  painting  of  the  stanze  of  the  Vatican  and  the  Sistine  Chapel.  There  has 
never  in  the  history  of  art  been  an  environment  more  favorable  and  more  try- 
ing. On  the  one  hand,  enthusiasm  had  reached  the  very  highest  point,  the 
tree  nurtured  painfully,  lovingly  by  the  banks  of  the  Arno  was  ready  to  bear 
fruit;  in  the  Vatican  had  just  been  enthroned  a  pope  who  willed  tyrannously 
that  his  ideal  should  be  attained,  the  ideal  of  an  environment  unsurpassed  in 
beauty  and  inspiration  by  anything  which  the  world  had  seen. 

On  the  other  hand,  all  the  art  of  Florence,  the  art  which  was  an  inherit- 
ance from  Giotto  and  Donatello,  Masaccio  and  Lippi,  and  which  was  actually 
in  the  hands  of  Botticelli,  Perugino,  and  Signorelli,  was  ready  to  pour,  bub- 
bling at  the  point  of  its  highest  enthusiasm,  into  the  channel  of  papal  service. 
Great  artists  stood  clustered  about  the  throne:  Giuliano  da  Sangallo,  founder 
of  a  dynasty  of  architects;  Bramante,  to  whom  had  been  allotted  the  planning 
of  the  greatest  church  in  Christendom;  humanists  and  poets  and  cardinals 
who  were  more  famous  as  collectors  than  as  temporal  princes.  Luca  Signo- 
relli and  Pietro  Perugino  were  still  upon  their  scaffolding  of  the  Sistine  Chapel ; 
the  young  Michelangelo  was  already  preparing  his  drawings,  and  soon  would 
thunder  and  lighten  from  the  vaulting.  To  conquer  in  such  company  was 
to  conquer  utterly;  Raphael  Sanzio  was  summoned  from  Florence  by  Pope 
Julius,  and,  within  a  short  space  of  time,  three  peers,  Bramante,  Michelangelo, 
and  Raphael,  as  if  so  many  counterparts  of  the  triple  ranges  of  their  master's 
tiara,  crowned  the  art  of  the  Renaissance  in  the  Eternal  City. 

Raphael's  conquest  of  his  surroundings  was  almost  magical:  he  arrived  a 
youth,  well  spoken  of  as  to  skill,  yet  by  reputation  hardly  even  par  interpares; 
in  ten  short  years — how  long  if  we  count  them  as  art  history  —  he  died, 
having  painted  the  Vatican,  the  Farnesina,  world-famous  altar-pieces;  having 
planned  the  restoration  of  the  entire  city;  having  reconciled  enemies  and 
stimulated  friends,  and  having  succeeded  without  being  hated. 

He  achieved  this  success  by  his  great  and  manifold  capacity,  but,  most 
of  all,  because  in  art  he  was  the  greatest  assimilator  and  composer  who  ever 
lived.  The  two  words  are  each  other's  complements;  he  received  impres- 
sions, and  he  put  them  together;  his  temperament  was  exactly  suited  to  this 
marvelous  forcing-house  of  Rome,  for  a  Roman  school  never  really  existed, 
it  was  simply  the  Tusco-Umbrian  school,  throned  upon  seven  hills  and  grow- 
ing grander  and  freer  in  the  contemplation  of  antiquity.  To  this  contempla- 
tion Raphael  brought  not  only  a  brilliant  endowment,  but  an  astonishing 
mental  accumulation ;  the  mild  eyes  of  the  Uffizi  portrait  were  piercing  when 
they  looked  upon  nature  or  upon  art,  and  behind  them  was  an  alembic  in 

[158] 


RAPHAEL  33 

which  the  things  that  entered  through  those  eyes  fused,  precipitated,  or  crys- 
tallized as  he  willed.   .   .   . 

The  study  of  the  works  of  Raphael  is  necessarily  the  study  of  the  evolu- 
tion of  the  pictorial  art  of  Central  Italy.  For  two  hundred  years  great  paint- 
ers had  been  working  at  problems  of  suggestion,  expression,  and  technical 
achievement.  Giotto  had  taught  art  to  be  real  and  dramatic,  grand  and  simple 
at  once;  the  naturalists  had  learned  to  paint  man;  their  greater  contempo- 
raries to  express  him  in  his  essential  attributes;  Masaccio  had  made  man's 
body  a  solid  realization  in  an  ambient  environment;  BotticeUi  had  used  that 
body  as  a  sort  of  pattern  for  lovely  decorative  composition  of  lines;  Ghir- 
landajo  had  found  in  it  a  pretext  for  dignified  portraiture;  Signorelli  had  made 
it  material  for  the  expression  of  movement  by  muscular  construction;  and 
Perugino  had  pierced  its  envelop  for  the  pietistic  ecstasy  beneath.  Each  of 
these  men,  with  more  or  less  width  of  purpose  and  scope  of  realization,  had 
cultivated  his  own  vantage-point  till  the  art  fields  of  Italy  were  indeed  those 
of  the  bliithe  Zeit. 

Then  came  Raphael,  the  grand  harvester,  and  bound  up  the  sheaves  of  the 
Renaissance.  But  he  did  not  collect  and  bind  only;  he  sifted,  he  rejected, 
and  he  added,  added  mightily.  The  age  had  wreaked  itself  upon  experiment 
— experiment  in  expression,  anatomy,  perspective,  composition,  and  decora- 
tive detail.  Raphael  judged  all  this  experiment,  and  taking  the  various  re- 
sults, examined  and  almost  instinctively  selected  from  each  what  was  best 
suited  to  the  needs  of  pictorial  presentation,  what  was  best  worth  saving,  per- 
petuating, and  sublimating.  Having  done  all  this,  he  synthetized  his  material, 
and  in  presenting  it,  added  so  much  of  his  own  that  the  result  of  his  alem- 
bication  more  than  justified  his  eclecticism. 

For  three  hundred  years  after  Raphael's  death  he  was  famous  less  by  his 
mural  paintings  than  by  his  transportable  pictures,  which  carried  his  name  to 
tens  of  thousands  who  lived  beyond  the  Alps,  and  by  the  engraved  reproduc- 
tions of  his  tapestry  cartoons  which  told  Bible  stories  to  Europe,  Protestant 
and  Catholic  alike.  Most  of  all,  he  held  his  public  by  his  treatment  of  the 
subject  which  through  its  universal  humanity  was  the  touchstone  of  every 
artist's  power  to  appeal  to  the  heart,  the  Mother  and  Child.  Not  the  Queen 
of  Heaven  of  the  fourteenth  century;  not  even  the  Mary  of  the  fifteenth 
century,  human  and  sympathetic,  but  made  more  or  less  official  by  the  throne 
and  the  paraphernalia  of  ceremonial  worship;  not  these,  but  just  a  mother 
with  a  baby  was  enough  for  the  early  sixteenth-century  artists,  and  among 
them  all  none  was  simpler  in  his  treatment  of  costume,  none  rejected  acces- 
sory more  readily  than  Raphael.   .   .   . 

This  subject  of  the  Holy  Family  has  been  with  a  certain  public,  and  that 
a  large  one,  the  most  popular  in  the  entire  range  of  Raphael's  works,  and 
the  admiration  given  it  at  times  has  been,  if  not  too  lavish,  certainly  too  in- 
discriminate. Later  criticism,  in  attempting  to  put  an  end  to  this  undiscern- 
ing  praise,  has  gone  too  far  on  the  other  side;  for  if  three  centuries  called 
Raphael  "divine,"  many  a  student  of  the  Romantic  epoch,  and  especially  of 
our  own  days,  when  surface-handling  is  so  highly  esteemed,  has  dismissed  his 

[159] 


34  MASTERS    IN    ART 

work  contemptuously,  zs  pompier y  painty,  and  wooden.  Some  of  it  is  all  of 
these  three  things,  but  none  of  it  is  worthy  of  contempt,  for  the  least  of  his 
works  shows,  in  some  degree,  either  his  compositional  force  or  his  superiority 
over  his  contemporaries  in  certain  directions.  .   .   . 

If  some  of  his  compositions  seem  to  us  academic,  through  the  sense  of 
preoccupation  conveyed,  we  must  not  forget  that  some  of  what  appears  to 
us  conventionality  comes  from  the  fact  that  these  compositions  were  so  well 
founded,  so  admirably  ponderated,  that  imitators  have  stolen  the  thought  with- 
out submitting  to  the  preoccupation,  and  through  their  own  weakness  have 
made  the  original  seem  conventional.  As  to  surface-handling,  if  we  accord 
it  the  meaning  that  it  usually  conveys  to-day,  that  of  clever  manipulation  of 
pigment,  we  must  remember  that  practically  it  did  not  exist  for  Raphael's 
contemporaries.  Fresco  was  the  medium  used  by  Tuscans  during  centuries 
of  wall-decoration,  and  fresco  being  water-color,  no  loading  for  the  sake  of 
effect  could  be  obtained,  nor  could  tricks  of  handling  be  perceived  at  all  in 
works  placed  at  so  great  a  distance  from  the  eye  as  were  most  mural  dec- 
orations. .  .  . 

The  fact  that  skilful  manipulation  of  pigment  in  surface-handling  did  not 
obtain  until  after  Raphael's  time  does  not,  however,  excuse  a  relative  indif- 
ference to  handling  which  makes  his  modeling  sometimes  appear  unconsid- 
ered, if  we  compare  it  with  the  close  and  subtle  treatment  of  some  of  his  con- 
temporaries. Many  late  fifteenth-century  works  have  a  closeness  of  modeling 
which  is  almost  Flemish;  Raphael's  is  not  like  this,  and  his  modeling  is  at 
the  point  of  evolution  where  it  ceased  to  have  the  delicate,  if  rather  dry,  close- 
ness of  certain  primitive  Tuscan  masters,  without  approaching  the  breadth 
of  Titian's  later  manner,  or  giving  even  the  slightest  hint  of  the  robust,  square 
touches  which  came  in  the  seventeenth  century  with  Velasquez  and  Hals. 
Every  artist  eventually  makes  his  effect  with  what  he  cares  for  most,  and 
modeling  per  se,  whether  close  or  broad,  was  not  what  Raphael  liked  best  or 
next  to  best.  So  it  was  with  his  color;  the  evolution  of  his  art  work  shows 
that  he  did  not  hold  color  as  dearly  as  an  Umbrian  and  a  pupil  of  Perugino 
might  have  been  expected  to.  Had  he  cared  to  keep  his  mind  to  it  he  could 
have  always  been  an  agreeable  colorist,  but  probably  never  an  individually 
great  one.   ... 

In  his  later  days,  when  great  commissions  crowded  upon  him,  when  en- 
voys from  kings  and  dukes  stood  at  his  elbow,  urging  him  more  and  more  to 
satisfy  their  masters,  it  would  seem  as  if  Raphael  grew  to  care  less  for  color 
and  to  slur  it.  Now  and  then  he  had  notable  changes  of  heart,  as  in  'The 
Miracle  of  Bolsena.'  In  this  we  see  Raphael  again  as  assimilator.  Having 
profited  by  the  experiments  made  by  other  men  in  the  direction  of  character, 
composition,  movement,  he  now,  after  seeing  and  admiring  the  color  of  the 
Venetians  in  the  work  of  Sebastiano  del  Piombo,  reproduces  it  with  surpris- 
ing success.  It  is  admirably  comprehended,  but  it  is  not  quite  Venetian;  all 
the  more  that  it  is  based  upon  the  work  of  a  man  who  was  himself  soon  af- 
fected by  the  Roman  school.  It  is  strong  and  glowing,  but  he  falls  short  of 
Titian;  for  if  the  fresco-work  of  Titian  in  Padua  be  coarse  in  handling,  it  is 

[160] 


RAPHAEL  35 

not  so  in  color,  while  there  is  a  touch  of  color-coarseness  in  'The  Miracle 
ot'  Bolsena.'  .  .  . 

But  Raphael  experimented  and  selected  incessantly,  and  kept  what  he 
thought  was  most  useful  to  his  presentation;  towards  the  end  of  his  days  he 
sought  not  nearly  so  much  for  color  as  for  dramatic  relief;  therefore  he  clung 
to  the  black  shadows  of  Leonardo  and  Fra  Bartolommeo, — shadows  which 
have  blackened  still  more  by  the  effect  of  time,  and  which  became  more  dis- 
agreeable with  Raphael  than  with  Da  Vinci,  because  his  modeling  was  much 
harder  than  the  latter's.  In  short,  Raphael  was  able  to  acquit  himself  admi- 
rably in  color,  but  generally  preferred  to  give  the  time  and  thought  to  some- 
thing else.   .   .   . 

As  a  composer,  Raphael  was  absolute  monarch  and  ruled  as  he  pleased, 
taking  other  men's  compositions,  if  he  chose,  bettering  them,  and  founding 
upon  them,  or  inventing  new  ones  of  his  own,  without  the  slightest  sug- 
gestion of  straining;  indeed,  he  banished  all  sense  of  strain  from  his  com- 
position as  completely  as  he  eschewed  the  ugly  or  painful  in  his  choice  of 
subject.  His  figures  in  some  of  his  later  works  might  gesticulate  and  roll 
their  eyes;  but  they  are  easily  composed,  and,  as  was  fitting  in  one  who  over- 
looked and  judged,  he  brought  to  art  a  quality  which  led  all  his  other  ones, 
— the  quality  of  high  serenity. 

After  his  drawings,  and  in  almost  equal  degree,  it  is  Raphael's  composition 
which  brings  us  nearest  to  him  as  an  artist,  closest  to  his  real  intention.  In 
other  ways  the  pupil-assistant  is  constantly  interposed  between  the  master 
and  ourselves,  but  collaboration,  which  may  blunt  outline  and  make  color 
heavy,  is  almost  powerless  to  distort  composition^  Through  the  art  of  com- 
position he  takes  his  spectator  directly  by  the  hand;  by  concentration  he 
focuses  the  eye  of  that  spectator  upon  the  point  in  his  picture  which  is  most 
important;  then,  by  the  ordering  of  the  lines,  and  lights,  and  shadows,  he 
leads  him,  as  he  wishes,  from  point  to  point,  and  gifts  him  with  a  sense  of 
well-being,  born  of  the  wise  distribution  of  the  masses,  the  chiaroscuro,  and 
the  lines.  This  itinerary  is  involuntary  to  the  spectator,  but  is,  therefore,  all 
the  more  delightful,  and  of  this  art  of  composition  Raphael  was  the  greatest 
master  of  the  modern  world. 


C|)e  jTrestos  of  3^ap1^ael 

DESCRIPTIONS    OF    THE    PLATES 
<THE     MIRACLE    OF    BOLSENA'  PLATE    I 

THIS  world-renowned  fresco,  painted  above  and  on  each  side  of  a  win- 
dow in  the  'Stanza  d'  Eliodoro'  in  the  Vatican,  was,  with  the  possible 
exception  of  the  group  of  women  on  the  left,  painted  entirely  by  Raphael's 
own  hand.    It  is  dated  1512.    The  subject  represents  a  miracle  wrought  at 

[161] 


36  MASTERS    IN    ART 

Bolsena  in  1263,  during  the  pontificate  of  Urban  iv.,  when  a  German  priest, 
who  doubted  the  doctrine  of  transubstantiation,  was  convinced  by  seeing 
blood  flow  from  the  Host  that  he  was  consecrating.  The  scene  shows  the 
priest  kneeling  before  the  altar  in  the  center  of  the  picture,  gazing  in  aston- 
ishment and  awe  at  the  bleeding  wafer;  behind  him  are  while-robed  chor- 
isters bearing  tapers;  and  below,  a  crowd  of  eager  people  with  upturned  faces 
look  upon  the  miracle.  On  the  other  side  of  the  altar.  Pope  Julius  ii.  kneels 
in  prayer.  Cardinals  and  prelates  are  seen  in  the  background,  and  in  the 
right  foreground  the  papal  guards  in  their  liveries,  each  figure  a  masterpiece 
of  painting,  form  a  striking  group. 

"This  work,"  writes  Mr.  Henry  Strachey,  "is  perhaps  the  finest  piece  of 
painting,  regarded  simply  as  painting,  that  ever  came  from  the  hand  of 
Raphael.  The  harmony  and  richness  of  color  are  such  that  it  might  make 
a  Venetian  envious;  and  of  the  composition,  all  that  need  be  said  is  that  it 
is  worthy  of  Raphael  at  his  best." 

"If  there  were  no  architecture  around  it,"  write  E.  H.  and  E.  W.  Blash- 
field,  "  'The  Miracle  of  Bolsena'  would  still  be  a  beautiful  picture;  but  in 
its  accordance  with  the  circumscribing  architectural  forms  it  is  especially  a 
magnificent  composition.  In  the  center  the  square  altar-cloth  is  a  sort  of 
keystone,  the  pope  and  the  ministrant  priest  kneel  at  either  side,  their  lines 
converging  upwards;  behind  them  a  choir-screen  of  carved  wood  curves 
slightly  in  contradiction  to  the  arch  of  the  lunette,  which  latter  is  echoed  by 
a  small  archway  just  above  the  center  of  the  screen.  To  the  left  and  right 
the  kneeling  acolytes,  prelates  and  Swiss  guards,  the  woman  standing  with 
upraised  arm,  the  steps  at  either  side  of  the  altar,  all  lead  the  composition 
upwards  and  towards  the  center,  while  the  pillars  at  the  top  continue  the  up- 
rights of  the  window  which  is  pierced  through  the  wall.  Everything  in  this 
fresco  shows  how  easy  to  Raphael  was  the  compositional  filling  of  unusual 
architectural  forms,  such  as  broken  lunettes  or  spandrels;  he  proved  this 
facility  again  and  again,  but  never  more  notably  than  in  'The  Miracle  of 
Bolsena.'  " 

<THE    SIBYLS'  PLATE    II 

RAPHAEL'S  greatest  fresco  outside  of  the  Vatican  is  this  much-injured 
k.  group  of  sibyls,  attendant  angels,  and  genii  painted  over  the  arch  of  the 
entrance  to  the  Chigi  Chapel  in  the  Church  of  Santa  Maria  della  Pace,  Rome. 
In  no  other  of  the  artist's  works  is  Michelangelo's  influence  so  strongly 
perceptible.  "He  has  walked  through  my  chapel,"  said  the  painter  of  the 
Sistine  frescos  when  he  looked  upon  Raphael's  Sibyls;  but  although  similar 
in  motive,  these  figures  are  far  more  human  in  type  than  are  those  of  Michel- 
angelo, and  in  their  graceful  forms  and  floating  draperies  are  distinctly 
Raphaelesque. 

At  the  extreme  left  of  the  fresco  is  the  Cumaean  Sibyl,  her  eyes  upturned 
to  heaven.  Beside  her  the  Persian  prophetess  writes  upon  a  tablet  held  by 
an  angel.  On  the  right  is  the  aged  Tibunine  Sibyl,  holding  an  open  book 
upon  her  knee,  and  behind  her  the  Phrygian  Sibyl  turns  to  read  from  a  tablet 

ri62] 


RAPHAEL  37 

in  the  hands  of  an  angel  seated  above.  Angels  fly  through  the  air  with  scrolls 
bearing  prophecies,  and  three  winged  genii,  the  central  one  holding  a  torch, 
complete  the  group. 

Cinelli  relates  that  when  Raphael,  having  received  from  the  rich  banker 
Chigi  500  ducats  on  account  for  this  fresco,  asked  for  what  was  still  due  him 
of  the  sum  previously  agreed  upon,  he  was  met  by  a  refusal  from  Chigi's 
cashier,  whereupon  he  demanded  that  the  matter  be  referred  to  an  expert. 
Michelangelo  was  selected  to  decide  the  question,  and  at  once  declared  that 
each  head  alone  was  worth  100  ducats.  Chigi  immediately  ordered  that  400 
ducats  should  be  paid  to  Raphael,  admonishing  his  cashier  at  the  same  time 
to  "be  courteous  with  Raphael  and  satisfy  him  well,  for  if  he  makes  us  pay 
for  the  draperies  too  we  shall  be  ruined ! " 


THE    'INCENDIO    DEL'    BORGC  PLATE    III 

IN  1514  Raphael  began  the  decorations  of  the  Stanza  dell'  Incendio,  in 
the  Vatican,  in  which  the  work  was  for  the  most  part  intrusted  to  his  pu- 
pils, the  painting  of  the  'Incendio  del'  Borgo,'  from  which  the  room  derives 
its  name,  being  the  only  one  of  its  four  large  frescos  in  which  his  hand  is  to 
any  extent  perceptible. 

The  scene  represents  a  miracle  accomplished,  some  six  centuries  before, 
by  Pope  Leo  iv.,  who,  by  making  the  sign  of  the  cross,  arrested  the  flames 
which  had  broken  out  among  the  wooden  houses  of  the  Borgo  (a  quarter  of 
Rome  near  the  Vatican)  and  threatened  to  destroy  St.  Peter's.  The  old  ba- 
silica is  seen  in  the  background,  on  a  balcony  of  which  the  pope  appears,  sur- 
rounded by  prelates.  Its  steps  are  crowded  with  fugitives,  and  from  the 
houses  in  the  foreground  the  terrified  inhabitants  escape  as  best  they  may. 
On  one  side  an  old  man  is  borne  on  the  shoulders  of  his  son, — a  group  prob- 
ably suggested  by  Virgil's  description  of  JEnezs  bearing  the  aged  Anchises 
from  the  flames  of  Troy.  A  woman  drops  her  child  from  the  top  of  a  high 
wall  into  the  upstretched  arms  of  a  man  standing  below;  a  naked  youth, 
grasping  the  top  of  the  same  wall,  hangs  against  it  as  he  drops  to  the  ground, 
all  the  muscles  of  his  body  showing  in  tension.  On  the  other  side  of  the 
picture  groups  of  women — including  a  striking  figure  of  a  girl  with  a  water- 
jar  on  her  head,  her  garments  blown  by  the  wind — aid  in  the  attempt  to  ex- 
tinguish the  flames. 

"In  this  celebrated  work,"  writes  Miintz,  "qualities  of  the  first  order  are 
blended  with  great  faults.  The  individual  figures  are  admirable,  the  energy 
of  the  expression  is  equaled  only  by  the  boldness  of  the  design,  and  the  mod- 
eling is  perfect — but  we  feel  that  Raphael  has  here  renounced  that  unity  and 
rhythm  which  had  formerly  ruled  his  compositions.  In  the  place  of  a  large 
and  excited  crowd,  there  are  but  a  few  groups,  sometimes  even  solitary  fig- 
ures, all  without  any  very  intimate  cohesion.  Hence  the  scattered  interest 
which  in  some  degree  lessens  the  effect  of  the  work."  But  although  there 
are  evidences  here  of  the  decadence  that  was  so  soon  to  follow  Raphael's 
death,  although  the  dramatic  element  in  this  exaggerated  form  fails  to  move 

[1631 


38  MASTERS    IN    ART 

US,  we  are  yet  conscious  of  the  force  of  the  artist,  and  realize  that  we  are 
still  in  the  presence  of  his  marvelous  creative  power. 

'PARNASSUS'    [DETAIL]  PLATE  IV 

ON  one  of  the  walls  of  the  Stanza  della  Segnatura  in  the  Vatican,  Raphael 
painted  the  celebrated  fresco  'Parnassus,'  in  which  Apollo,  god  of  poetry 
and  music,  is  seated  under  the  shade  of  laurel-trees  on  the  summit  of  the 
sacred  mountain,  surrounded  by  the  nine  Muses.  Beside  this  group  are  the 
epic  poets  of  the  past.  Homer,  raising  his  blind  eyes  to  Heaven,  and  near 
him  Virgil  and  Dante.  Below,  on  the  slope  of  the  mount,  the  lyric  poets 
of  Greece  and  Italy,  among  them  Pindar  and  Horace,  Ariosto,  Boccaccio, 
Petrarch,  Sappho,  and  others,  converse  in  groups  on  either  side.  The  cen- 
tral portion  of  this  fresco,  showing  Apollo  and  the  Muses,  is  here  reproduced. 

In  his  recent  work  on  Raphael,  Mr.  Henry  Strachey  says  of  the  figure  of 
Apollo,  "For  general  harmony  of  line,  for  perfect  balance  of  mass,  and  forno- 
ble  grace  the  Apollo  is  hard  to  match.  How  perfectly  balanced  is  the  disposi- 
tion of  the  hmbs,  and  yet  how  unconstrained!  The  lights  fall  naturally  in 
exactly  the  places  which  require  emphasis,  and  this  perfection  of  balance  in 
the  form  of  the  figure  gives  the  Apollo  its  grand  serenity." 

Though  less  monumental  in  composition  than  the  'Disputa'  and  'School 
of  Athens,'  the  'Parnassus,'  as  Perkins  says,  is  to  the  other  frescos  of  Raphael 
what  the  'Pastoral  Symphony'  is  to  other  symphonies  of  Beethoven.  It  has 
a  serene  and  idyllic  beauty  all  its  own. 

'THE  SCHOOL  OF  ATHENS'  PLATE  V 

ON  the  wall  of  the  Stanza  della  Segnatura  of  the  Vatican,  opposite  the 
*Disputa'  (shown  in  Plate  viii),  Raphael  painted  the  so-called  'School  of 
Athens,'  representing  an  assembly  of  those  Greek  philosophers,  poets,  and 
men  of  science  who  by  their  labors  and  profound  thought  were  acknowledged 
by  the  Church  to  have  prepared  the  way  for  the  enlightened  faith  of  Chris- 
tianity. Under  a  portico  of  idealized  Renaissance  architecture  leading  to  the 
palace  of  wisdom  stand  Plato  and  Aristotle,  surrounded  by  groups  of  sages 
and  scholars,  among  whom  are  Socrates,  Alcibiades,  and  Xenophon.  Diog- 
enes, the  Cynic,  clad  in  rags,  reclines  on  the  steps  below.  On  the  left, 
Pythagoras,  teacher  of  arithmetic,  forms  the  center  of  a  group,  and  on  the 
right  Archimedes  (in  whom  Raphael  has  painted  a  portrait  of  the  architect 
Bramante)  is  engaged  in  drawing  geometrical  figures  on  a  tablet  on  the  ground. 
Among  those  about  him  are  Ptolemy  and  Zoroaster  bearing  respectively  the 
terrestrial  and  celestial  globes,  and  farther  back  Raphael  has  introduced  his 
own  likeness  and  that  of  the  painter  Sodoma. 

In  so  complex  a  subject  as  'The  School  of  Athens,'  in  the  representation 
of  which  a  knowledge  of  the  general  history  of  Greek  philosophy  and  famil- 
iarity with  the  classic  authors  were  required,  Raphael  is  said  to  have  made 
use  of  the  suggestions  and  assistance  of  the  men  of  letters  then  gathered  in 
Rome;  but  in  the  grandeur  and  dignity  of  the  composition,  in  the  feeling  for 

[164] 


RAPHAEL  39 

space,  and  the  skilful  arrangement  of  the  grouped  masses  this  creation  stands 
as  a  stupendous  result  of  his  own  thought  and  labor. 

«THE  DELIVERANCE  OF  ST.  PETER'  PLATE  VI 

"TN  the  Stanza  d'  Eliodoro  of  the  Vatican  (so-called  from  the  fresco  it  con-       / 

A  tains  of '  Heliodorus  driven  from  the  Temple')  and  on  the  wall  opposite 
'The  Miracle  of  Bolsena,'"  writes  Julia  Cartwright,  "Raphael  painted  'The 
Deliverance  of  St.  Peter,'  in  significant  allusion  to  the  memorable  escape  of 
Pope  Leo  X.  from  the  hands  of  his  French  captors  after  the  battle  of  Ravenna. 
In  the  central  space  above  the  windows  the  delivering  angel  is  seen  through 
the  prison-bars,  stooping  to  awaken  St.  Peter,  who  lies  bound  between  two 
soldiers.  On  the  right  the  same  bright  form  leads  the  apostle  by  the  hand 
down  the  steps  and  past  the  sleeping  guards,  while  on  the  left  a  soldier  bear- 
ing a  lighted  torch  rushes  up  the  opposite  flight  of  stairs  to  give  the  alarm. 
The  most  striking  thing  in  this  picture  is  the  fine  effect  produced  by  the 
three  separate  lights — the  angel  whose  radiance  illumines  the  darkness  of 
the  prison,  the  flaming  torch  in  the  soldier's  hand,  and  the  crescent  moon, 
which  hangs  over  the  sleeping  city.  The  way  in  which  these  different  lights 
were  handled  roused  the  admiration  of  Raphael's  contemporaries  to  the  high- 
est pitch,  and  made  Vasari  declare  this  fresco  to  be  the  painter's  most  won- 
derful work." 

SCENES    FROM    THE    STORY    OF    CUPID    AND    PSYCHE  PLATE    VII 

THE  frescos  representing  the  story  of  Cupid  and  Psyche  in  an  open  loggia 
(since  inclosed)  of  the  Farnesina  Villa,  were  designed  by  Raphael,  and 
painted  almost  wholly  by  his  pupils  Giulio  Romano,  Gianfrancesco  Penni, 
and  others.  In  his  illustrations  of  the  story,  consisting  of  a  series  of  twelve 
frescos,  two  on  the  ceiling  and  ten  in  the  triangular  pendentives  enframed  in 
borders  of  fruit  and  flowers  with  a  background  of  blue  sky,  Raphael  has  fol- 
lowed the  version  of  Apuleius,  a  Latin  author  of  the  second  century,  whose 
works  were  popular  at  the  time  of  the  Renaissance. 

Psyche,  the  youngest  daughter  of  a  certain  king,  aroused  by  her  beauty,  so 
the  story  goes,  the  jealousy  of  Venus,  who  accordingly  directed  Cupid  to  punish 
the  princess  by  inspiring  her  with  love  for  an  unworthy  mortal.  But  Cupid, 
in  the  attempt  to  carry  out  his  mother's  commands,  fell  in  love  with  Psyche 
and  bore  her  away  to  a  lovely  valley,  where  every  night,  and  always  invis- 
ible, he  visited  her,  warning  her  not  to  attempt  to  look  upon  him.  Psyche, 
however,  burning  with  curiosity  to  behold  her  lover,  disobeyed  his  command, 
and  was  abandoned  by  the  god  in  anger.  After  wearisome  wanderings  in  search 
of  him,  and  innumerable  hardships  imposed  upon  her  by  Venus,  Cupid's  heart 
was  touched  and  he  besought  Jupiter  to  give  him  Psyche.  This  request  being 
granted.  Mercury  was  called  to  conduct  her  to  Olympus.  Upon  her  appear- 
ance in  the  assembly  of  the  gods  she  was  given  the  draught  of  immortality, 
and  the  marriage  feast  of  Cupid  and  Psyche  was  forthwith  celebrated. 

Plate  VII  reproduces  two  scenes  from  this  fresco;  in  one  Cupid  is  showing 
Psyche  to  the  Graces  (of  whom  the  one  with  her  back  turned  to  the  specta- 

[165] 


40  MASTERSINART 

tor,  and  noticeable  for  the  delicate  modeling  of  her  form,  is  said  to  be  the  only 
figure  in  the  whole  series  painted  by  Raphael  himself);  and  in  the  other,  Mer- 
cury, in  obedience  to  Jupiter's  command,  is  conducting  Psyche  to  Olympus, 
which  he  points  out  to  her  wondering  gaze  as  they  approach. 

Owing  in  part  to  the  inferior  brush-work  of  pupils,  and  in  part  to  the  un- 
fortunate "restoration"  made  by  Carlo  Maratta  in  the  seventeenth  century, 
much  of  the  beauty  of  Raphael's  designs  has  been  marred;  but  as  Vasari's 
recent  editors  say,  "This  series  of  frescos  is  at  once  a  high-water  mark  of  the 
vigor  of  Italian  art  and  a  monumental  example  of  its  decadence.  We  have 
nowhere  a  more  astonishing  proof  than  here  of  the  strength  of  the  spirit  of 
the  Renaissance,  a  strength  that  could  burst  through  and  triumph  over  all 
faults  of  material  execution.  In  spirit  and  in  decorative  adaptability  of  the 
designs  to  the  spaces  filled,  the  pendentives  of  the  Farnesina  count  among  the 
best  of  Raphael's  works;  in  execution  they  are  so  coarse  and  sometimes  so 
slovenly  as  to  be  at  the  first  glance  almost  repellent.  Raphael,  fresco-painter, 
painter  of  Madonnas,  sculptor,  mosaic-worker,  architect  of  St.  Peter's,  over- 
burdened with  commissions,  harassed  by  patrons,  gave  over  the  whole  exe- 
cution of  this  work  to  his  pupils;  yet  in  spite  of  the  brick  red  flesh-tints  and 
brutal  outlines,  in  spite  of  Maratta's  staring  blues  in  over-painted  skies,  the 
spirit  of  the  epoch  and  of  Raphael  is  so  strong  that  in  these  pendentives  we 
see  again  the  joyous,  serene  life  of  the  Greeks  as  reconquered  by  the  Re- 
naissance." 

THE    «DISPUTA'  PLATE    VIII 

THIS  great  fresco,  the  first  large  work  painted  by  Raphael  in  the  Vati- 
can, occupies  one  of  the  side  walls  of  the  Stanza  della  Segnatura.  Its 
arrangement  seems  to  have  been  suggested  by  the  arched  mosaics  of  the  apses 
of  early  churches,  and  as  an  example  of  monumental  composition  it  is  un- 
surpassed. The  comparatively  modern  title,  the  'Disputa,'  or  'Discussion 
Concerning  the  Sacrament,'  is  a  misnomen,  for  the  scene  might  better  be 
defined  as  'The  Glorification  of  the  Christian  Faith.'  In  the  upper  part  of 
the  fresco  the  Almighty  in  glory  is  surrounded  by  angels  and  cherubim; 
lower  down,  relieved  against  a  background  resplendent  with  gold,  Christ  is 
seated  between  John  the  Baptist  and  the  Virgin;  and  underneath  are  twelve 
patriarchs,  prophets,  and  apostles.  Angels  float  in  the  clouds  amidst  which 
these  groups  are  placed,  and  in  the  center  four  winged  genii,  two  on  either 
side  of  the  dove,  symbolic  of  the  third  member  of  the  Trinity,  fly  earthwards 
bearing  the  Gospels  to  a  multitude  below,  composed  of  saints  and  confes- 
sors, learned  doctors,  exponents  of  the  law,  painters,  poets,  old  men  and 
youths,  gathered  about  an  altar  which  supports  the  mystic  symbol  of  Christ's 
presence.  Among  those  represented  Raphael  has  placed  at  the  right,  among 
popes  and  cardinals,  Savonarola,  in  the  habit  of  a  monk,  who  had  been  put 
to  death  in  Florence  as  a  heretic  only  eleven  years  before.  Near  him  may 
be  seen  the  laurel-crowned  head  of  Dante,  and  on  the  extreme  left  Fra  An- 
gelico.  The  figure  leaning  on  the  balustrade  in  the  foreground  has  been  iden- 
tified as  Bramante,  then  the  architect  of  St.  Peter's. 

[166] 


RAPHAEL  41 

Mr.  Berenson  cites  this  great  fresco  as  an  example  of  Raphael's  consum- 
mate skill  as  a  space-composer.  "Look,"  he  says,  "at  that  majestic  theophany 
known  as  the  'Disputa.'  The  most  obvious  architecture  could  not  better  in- 
dicate the  depth  and  roundness  of  a  dome;  but  no  architectural  dome  could 
so  well  convey  a  sense  of  the  vastness,  yet  commensurability,  nay,  shall  we 
not  say  of  the  companionship,  of  space.  How  much  greater,  how  much  purer 
than  one's  ordinary  self — how  transfigured  one  feels  here!  The  forms  in 
the  'Disputa'  are  noble  in  intention,  as  they  always  are  in  Raphael's  best 
work.  But  think  away  the  spaciousness  of  their  surroundings.  What  has  be- 
come of  the  solemn  dignity,  the  glory  that  radiated  from  them?  It  has  gone 
like  divinity  from  a  god." 

"This  celebrated  work,"  writes  Miintz,  "is  justly  regarded  as  the  highest 
expression  of  Christian  painting  and  the  most  perfect  summary  of  fifteen 
centuries  of  faith.  It  is  more  than  a  masterpiece  of  art;  it  marks  an  epoch 
in  the  development  of  the  human  mind." 

<GARLAND-BEARER  '  .  PLATE    IX 

THIS  fragment  is  all  that  remains  of  some  armorial  bearings  frescoed  by 
Raphael  in  the  Vatican,  and  destroyed  when  alterations  in  the  palace 
caused  the  room  they  decorated  to  be  demolished.  This  so-called  'Garland- 
bearer,'  one  of  the  supporters  of  an  escutcheon  of  Pope  Julius  ii.,  was  then 
cut  from  the  wall  and  is  now  preserved  in  the  Academy  of  St.  Luke  in  Rome. 
The  figure,  which,  as  Taine  says,  "is  as  strong,  as  full  of  life,  and  as  simple 
as  a  Pompeian  antique,"  is,  notwithstanding  its  battered  and  mutilated  con- 
dition, a  work  of  great  beauty,  and  is  characteristic  of  Raphael  at  his  best 
period. 

<THE  TRIUMPH  OF  GALATEA'  PLATE  X 

IN  the  year  1514  Raphael  painted  this  famous  fresco  in  his  friend  Agostino 
Chigi's  villa  on  the  banks  of  the  Tiber,  now  known  as  the  Farnesina  Villa, 
from  the  Farnese  family,  into  whose  possession  it  passed  at  the  end  of  the 
sixteenth  century. 

"As  Philostratus,"  writes  Perkins,  "described  Galatea  the  sea-nymph,  sail- 
ing in  triumph  over  the  sea  in  a  shell  drawn  by  dolphins  surrounded  by  nymphs 
and  tritons,  holding  her  purple  robe  over  her  head  to  catch  the  zephyr  and  to 
shield  herself  from  the  sun's  rays,  so  Raphael  has  painted  her,  with  such  slight 
changes  as  suited  his  purpose.  Standing  in  an  attitude  of  consummate  grace, 
with  her  mantle  fluttering  in  the  wind,  she  holds  the  reins  loosely  in  her  hands, 
leaving  the  guidance  of  her  dolphin  steeds  to  a  cupid,  who  lies  like  a  sunbeam 
upon  the  water.  His  fellows,  with  arrows  fitted  to  their  bow-strings,  circle 
the  air  like  swallows  on  the  wing,  and  a  crowd  of  burly  tritons,  sounding 
their  conch-shells,  and  bearing  nymphs  in  their  strong  arms,  splash  through 
the  blue  waters  in  all  the  pride  of  exuberant  life." 

In  a  letter  written  to  his  friend  Count  Castiglione,  in  the  summer  of  1 5 14, 
Raphael  says:   "As  for  the  'Galatea,'  I  should  think  myself  a  great  painter  if 

[167] 


42  MASTERS    IN    ART 

I  could  believe  half  the  kind  things  that  your  lordship  writes  about  it.  I  am 
forced,  however,  to  recognize  that  they  are  chiefly  dictated  by  the  love  you 
bear  me.  If  I  am  to  paint  a  beautiful  woman  I  ought  to  see  several,  and  to 
have  you  at  my  side  to  point  out  the  special  beauties  of  each.  But  since  good 
judgment  and  fair  women  are  rare,  I  work  from  a  certain  ideal  that  I  have 
in  my  mind.  Whether  this  ideal  have  in  it  any  artistic  excellence  I  know 
not,  but  at  least  I  do  my  best  to  attain  it." 

The  figure  of  the  fair-haired  Galatea,  and  indeed  the  greater  part  of  the 
whole  fresco,  was  painted  by  Raphael  himself;  it  is  only  in  the  coarser  paint- 
ing of  the  tritons  and  the  dolphins  that  the  touch  of  Giulio  Romano  and  of 
other  pupils  is  observable.  The  original  colors  have  faded,  and  the  beauty  of 
the  work  has  been  sadly  impaired  by  time,  but  the  joyousness  of  Greek  life 
still  breathes  from  this  frescoed  wall,  so  that  we  seem  to  feel  the  fresh  breeze 
that  blows  the  white  foam,  and  smell  the  salt  of  the  sea  over  which  Galatea 
is  borne  in  her  triumph.  As  Symonds  has  said,  "The  rapture  of  Greek  art 
in  its  most  youthful  moment  has  never  been  recaptured  by  a  modern  painter 
with  more  force  and  fire  of  fancy  than  in  the  'Galatea.'" 

A    LIST    OF    THE    PRINCIPAL    FRESCOS    BY    RAPHAEL    AND    OF    THOSE    EXECUTED 
BY    HIS    PUPILS    FROM    HIS    DESIGNS 

ITALY.  Perugia,  Chapel  of  San  Severo:  The  Trinity  —  Rome,  Church  of  Sant' 
Agostino:  The  Prophet  Isaiah  —  Rome,  Farnesina  Villa:  Triumph  of  Galatea 
(Plate  X);  Story  of  Cupid  and  Psyche  (see  Plate  vii)  —  Rome,  Academy  of  St.  Luke: 
Garland-bearer  (Plate  ix)  —  Rome,  Church  of  Santa  Maria  della  Pace:  The  Sibyls 
(Platen)  —  Rome,  the  Vatican,  the  Stanze  [Stanza  della  Segnatura]  :  Poetry; 
Theology;  Philosophy;  Justice;  Apollo  and  Marsyas;  Adam  and  Eve;  Astronomy;  Judg- 
ment of  Solomon;  *Disputa'  (Plate  via);  School  of  Athens  (Plate  v);  Parnassus  (see 
Plate  iv);  Jurisprudence;  Justinian  giving  his  Code  to  Tribonian;  Gregory  ix.  publishing 
the  Decretals.  [Stanza  d'Eliodoro]  :  God  appearing  to  Noah;  Abraham's  Sacrifice;  Ja- 
cob's Dream;  Moses  and  the  Burning  Bush;  Heliodorus  driven  from  the  Temple;  Miracle 
of  Bolsena  (Plate  i);  Deliverance  of  St.  Peter  (Plate  vi);  Retreat  of  Attila.  [Stanza  dell' 
Incendio]:  Coronation  of  Charlemagne;  'IncendiodeP  Borgo'  (Plate  lii);  Battle  of  Os- 
tia;  Oath  of  Leo  III.  [Sala  Dl  CosTANTiNo]  :  Baptism  of  Constantine;  Defeat  of  Max- 
entius;  Address  of  Constantine  to  his  Troops;  Donation  of  Rome  to  Sylvester;  Overthrow 
of  Paganism  —  Rome,  the  Vatican,  the  Loggie:  Fifty-two  scenes  from  the  Old  and 
New  Testaments  in  decorative  settings  —  Rome,  the  Vatican,  Bath-room  of  Cardi- 
nal BiBBiENA:   Mythological  subjects. 

A  SHORT  list  of  the  prbcipal  books  dealing  vdth  Raphael  was  given  in  Volume  I, 
Part  12,  of  this  Series,  which  treats  of  his  easel-pictures.  For  an  exhaustive  bib- 
liography, however,  the  reader  is  referred  to  '  Les  Historiens  et  les  critiques  de  Raphael, 
1483-1883,'  by  Eugene  Miintz.    (Paris,  1883.) 

[1G8] 


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derful country  of  history  and  sentiment,  mountain  and  valley,  field,  farm, 
and  forest. 

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Letters  &  Lettering 

By  Frank  Chouteau  Brown 

A     TREATISE     WITH     TWO     HUNDRED     EXAMPLES 

of  standard  and  modern  alphabets,  for  the  use 

of  designers,  decorators,  craftsmen, 

and  all  who  have  to  draw 

the  letter-forms 

FEW  OF  THE  POINTS  OF  SUPERIORITY  OF  "LETTERS 

ds*  Lettering  "  are:  i.  The  greater  number  and  the  greater  range  of 
examples  it  contains,  ii.  The  careful  selection  of  these  examples  for 
their  practical  modern  usefulness.  All  forms  of  merely  historical  or 
curious  interest  have  been  omitted  in  favor  of  others  of  intrinsic  worth 
adapted  for  present-day  uses.  in.  The  convenient  arrangement  of  these  examples. 
In  all  the  more  important  and  typical  alphabets  not  only  is  each  letter  shown  sepa- 
rately (missing  letters  being  supplied  when  the  alphabet  is  based  on  forms  taken  from 
inscriptions,  etc.),  but  word  formations  are"  also  given,  which  exhibit  at  a  glance  how 
lettering  in  that  style  will  actually  appear,  iv.  Detailed  explanations  and  measured 
diagrams.  A  standard  form  of  every  individual  letter  in  each  of  the  two  basicf  styles 
of  all  lettering,  Roman  and  Gothic,  is  shown  by  a  diagram,  with  a  detailed  description 
of  the  method  of  drawing  it.  v.  The  great  number  of  examples  of  the  work  of 
modem  letterers.  Typical  specimens  are  shown  of  the  work  of  the  most  notable  con- 
temporary designers,  French,  German,  English,  and  American.  Among  the  Americans 
whose  characteristic  letter-drawing  is  shown,  may  be  mentioned  Messrs.  Albert  R. 
Ross,  McKim,  Mead,  &  White,  architects,  Claude  Fayette  Bragdon,  Bertram  G. 
Goodhue,  Bruce  Rogers,  Edwin  A.  Abbey,  Edward  Penfield,  H.  Van  Buren  Magon- 
igle.  Will  Bradley,  Maxfield  Parrish,  Addison  B.  Le  Boutillier,  H.  L.  Bridwell,  Frank 
Hazenplug,  Edward  Edwards,  Howard  Pyle,  Orson  Lowell,  and  others,  vi.  The 
practical  quality  of  the  text.  All  historical  and  theoretical  discussion  has  been  omitted 
in  favor  of  instruction,  with  many  illustrative  examples,  as  to  how  lettering  should  be 
drawn,  and  the  aesthetic  principles  of  combination,  spacing,  and  arrangement  with 
reference  to  design.  A  separate  chapter  is  devoted  to  the  needs  of  the  beginner,  in 
which  tools,  materials,  methods  of  procedure,  and  faults  to  be  avoided  are  discussed. 

^price,  $2.00,  po^tpaiD 


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iteisttiiiiiya* 


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CONSIDERED  IN  'MASTERS  IN  ART'  DUR- 
ING THE  CURRENT  VOLUME  WILL  BE 
FOUND  ON  ANOTHER  PAGE  OF  THIS  ISSUE. 
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APPEARED  IN  1903  ARE  : 

Part  37,  JANUARY ROMNEY 

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PART     41,     THE     ISSUE     FOR 


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©ol.  I. 


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—VAN  DYCK 

—TITIAN 

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—HOLBEIN 

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—REMBRANDT 

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*Sculftur€ 


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Part  16. 
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Part  21 
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nting 


©Ol.  III. 


Part  25.— PHIDIAS 
PART26.— PERUGINO 
Part  27.— HOLBEIN  § 
Part  28.— TINTORETTO 


Part  31.— PAUL  POTTER 
Part  32.— GIOTTO 
Part  33.— PRAXITELES 
Part  34.— HOGARTH 


Part  29.  — PIETER  de  HOOCH  Part  35.- TURNER 
Part  30.— NATTIER  Part  36.— LUINI 

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THE  ART  OF  EUROPE 

Is  too  significant  a  treasure  to  be  "  explained  "  by  the  ordinary 
uncouth  couri/r.  Our  SPECIAL  ART  PARTIES  are  led  by 
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and  Dr.  H.  F.  Witlard  of  Berlin.  They  travel  slowly  and  are 
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BOSTON,  MASS. 


INSTRUCTORS 

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Mrs.  WM.  STONE 

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